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Kageman^s Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

^li.^ Importance of an effective make-up is becoming^ n^o*^ otpps." 
ent to the professional actor every year, but hitherto there has been 
no book on the subject describing the modern methods and at th© 
same time covering all branches of the art. This want has noTV 
been filled. Mr, Kageman has had an experience of twenty year*, 
as actor and stage-manager, and his well-known literary ability ha& 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered hy this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
any other. It is absolutely indispensable to every ambitious actor 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box. Grease-Paints, Mirrors, Face 
I'owder and Puff, Exora Cream, Rouge. Liquid Color. Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps. 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before Making up; the <5traiqht Make* 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up. Society 
Men, Young Men in 111 Health, v/ith Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men, Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups Comedy Ef- 
fects, Wigs. Beards. Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Feature.s. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Bearers, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Plair, Dimensions for Wigs, Wig Bands, Bald 
Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers, Southerners. 
Politicians, Cowboys, Minor^, Qliakers, Tramps, Creoles, Mulattoes. 
Quadroons, Octoroons, Negroes,; Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathflyd«FS, Puritans, Early Dutch Set lien 
Englishmen, Scotchmen, Iri^Smen, Frenchmen, Italians, Sp:miLirdt^ 
Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Gipsies. Russians, Turks, Arabs, Moors, Caflirs. Aby«« 
sinians, Hindoo's, Malays, Chinese, Japanese, Clowns and Statuary 
Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING COMP-^JVv 

CHICAGO, ILLINOIS 



WAITING FOR 
BURGLARS 

BLACKFACE MONOLOGUE FOR A ]\L^N 



By 

BIRCH B. RIDGWAY 



Copyright 1916 
By The Dramatic Publishing Company 



CHICAGO 
THE DRAMATIC PUBLISHING COMPANY 



^' 4,K 









DEC 26l9\6^p,p 45,3, 



WAITING FOR BURGLARS 

Scene — Bank interior with imitation cardboard safe. 
At rise of curtain Sambo is discovered on guard 
equipped ivith a razor and an army gun. Stands 
near safe. 



Sambo. Dis heah job ob bein' night watch at dis 
savings bank sure am a soft snap. Just like bein' Presi- 
dent ob de United States. There hain't nothin' to do 
but sot round an' watchful wait for burglars. But 
there hain't no safe an' sane robber goin' to monkey 
round dis establishment with Sambo Shinbones on de 
job. No, suh ! [Shoivs gun to audience.] Dis heah gun 
I got in my hands is de finest scattah gauge weapon in 
de world. An ' talk about bein ' a good shot — why, folks, 
I kin shoot dat gun with de same sureness dat I shoots 
craps. Den If de dose ob lead don't stop them, they 
sure had bettah make tracks while they am in condition. 
[Draivs razor from shoe.'] Dis razor am to use in a 
pinch — one ob de open kind. Dis heah nigger don't 
take no stock in safety razors. Yes, suh! All de rob- 
bers am completely bluffed out. There hain't a rough 
neck in de w^hole state dat would have de uncommon 
sense to lay a hand on dat safe. If he did, de under- 
takah certainly would have a patient. 

But maybe you white folks would help me if I got in 
a scrape with bank burglars. [Looks over audience.'] 
Some ob youse looks like you'd be purty tough cus- 
tomers in a free-for-all. It sure does me good to know 
dat such a stiff lookin' bunch am'backin' me. 

Speakin' ob bank robbers, I sure had a most awful 
encountah with 'em while I was office boy in a St. Louis 

Z 



4 WAITING FOR BURGLARS 

bank. De robbers got de drop on me dat time 'cause I 
nebber had no gun. If I'd only had dis blundah-buss 
there wouldn't have been no robbery. But, say! You 
all realize dat what I am speakin' is perfectly reliable. 
It am de truth, de whole truth, and anything but de 
truth. Well — I was sayin' — I was there in de bank 
dat night a sweepin' out for de next mornin' an' dem 
burglars got in an' begin tyin' my hands before I eben 
had time to draw my pocket knife. I tried to git loose, 
but one ob 'em says : ' ' Hold still, you black coon, dere 
ain't no Abe Lincoln to turn you loose this time." 

I didn't like to be called names like dat, but what 
could a fellah do ? All I can say is dat. dey war mighty 
mean men. One ob dem sot down on my head an ' de 
other on my solar plexus an' grinned down in my face. 
''What you all want?" I asked. "Don't you know?" 
inquired de big fellah what was settin' on top ob my 
lungs. "We've come to hold up this bank?" "Well," 
says I, "you may be holdin' de bank up, but you am 
certainly holdin' me down." 

After they got tired ob usin' me for a kind of parlor 
settee they got up an ' started to blow de safe with nitro- 
gasoline. When dey wasn't lookin' I sort ob kicked my 
feet on de floor to attract de attention ob a cop what 
ought to be wanderin' round out in de street. "Quit 
that kickin','' yelled the big burglar. Dat made me 
mad, it did, and I replied: "You'd kick yourself if you 
was all tied up like dis. " 

From den on I didn't do nuffin' but sot back an' 
watch de following numbers on de program. Ebbery 
time I'd bat my eyes that big fellah would pint his fire- 
arm at me an' I couldn't do a thing to save de shack 
from gettin' a first-class clean-up. Dem men was sur- 
tainly old hands at de business. I'll bet you all a chaw 
ob terbaccer, women an' ladies not included, dat de big 
one with de gun has busted more banks to the square 
mile than all the Democratic administrations in de last 
sebbenty years. I nebber saw anyone enjoy a thing like 
dem men did. Dey wasn 't in no hurry at all an ' laughed 



WAITING FOR BURGLARS 5 

an' cracked jokes while dey was preparin' to crack de 
safe. 

''Mike," says de big one to de little one, ''does you 
like to hear riddles?" "Oh, snre," says de little one. 
"I'm a bear on riddles." "Well, here it is. "Why is 
bank crackin' like buyin' government bonds?" "I'll 
give it up, " says the little one ; ' ' why is it ? " " Because 
dey are strictly safe business," he replied. 

Then the little one went to de window an' looked for 
de cop. "We don't want to split de swag with no bow- 
legged billy swinger," he growled. I suppose he was 
sore about de gag his pardner worked on him, for he 
says: "Talkin' about cops makes me think of a riddle 
what I'd like to spring on you." "All right, spring 
ahead," responded de big fellah. "Why is the lead 
man in the movies like a policeman?" cten asked the 
little man. De big man scratched his head and says : 
"I reckon it's because they always catch the villain." 
"No," cackled the other, "it's because dey is both star 
men." 

Well, dem burglars kept on a talkin' dat way about 
de weather an' war an' religion until they got a hole 
drilled through de side .ob de ole soap box. Den they 
got de carbolic acid or nitro-dynamite or what ebber it 
war an' elevated dat sixty-ton safe plumb through de 
skylight. I don't expect dem burglars ebber found none 
ob dat coin. No, suh ! I'll bet dat strong box nebber 
stopped sailin' till she hit de Mississippi ocean. 

So clat's all about me and de bank crackers. If I'd 
only had dis gun an' razor to entertain de visitors with, 
I might have got my name in red capital letters in de 
Sunday papers. Yes, suh! I certainly does believe in 
preparedness. In dat case, preparedliness would have 
been next to godliness. 

But, say — afore I forgets it — a friend ob mine is in 
de most critical condition. I 'spect he's bound to die 
an' if he don't, I don't nebber 'spect he'll recover. De 
fact is, he just can't sleep an' if a man can't sleep any 
at all, he's in for it. Dat poor man, he actually snores 



6 WAITING FOR BURGLARS 

so loud dat he wakes himself up. So sad, so sad! 
[Sniffs.] It almost brings tears to my ears ebbery time 
I thinks about it. An' my friend was such a fine man 
an' one ob de best poultry raisers in de south part of 
Plymouth Rock County. Why, once I saw him raise 
twenty hens an' four roosters off a roost one night an' 
not a one ob 'em squawked. If dar is any person in 
de audience who can beat dat record he oughtn't to be 
heah tonight. No, suh ! he should be out at work. But 
I just can't keep dat poor man's sorry condition out ob 
my mind. He sure am to be pitied. I guess I might as 
well tell youse about another calamity while you all am 
feelin' sad an' down-hearted. 

I was walkin' along de street de other day an' I met 
a little colored boy who was cryin' as if his heart would 
break an' fall to pieces. Ob course I stopped to find out 
what was de matter. ' ' Little boy, ' ' I asked, ' ' why does 
you weep so bitterly?" "Well," he says, "it's just like 
dis: My paw he's all laid up in bed an' I've got to 
tote ebbery bit of de wood an' water." "Well," says 
I, "that is a great misfortune. What is the matter with 
your father — has he got a case of rheumatism ? " " Hain 't 
no case ob rheumatiz about it," he bawled, "it's a 
charge of bird shot." 

Den I strolled on down de highway until I met a 
young niggah what looked like he 'd been run obber by a 
passenger train. My curiosity was 'roused to de high- 
est-pitch an' I inquired ob him what de main difficulty 
was. "Well, suh," he explained, "I accidentally hap- 
pened to be walkin' round over in Mistah Bayne's melon 
patch an' afore I knew it I was attacked and mistreated 
somethin' awful." "That's too bad," I says in my 
gentle way; "did ole Bayne catch you while you was 
there ?' ' " No, " he replied, ' ' but his bulldog did. ' ' 

Maybe 1 don't look like it, but I come from mighty 
noted families. Yes, suh, my father was a minstrel end 
man in one of Shakespeare's plays, an' my mother was 
Topsy in "Uncle Tom's Calaboose." I 'spects dat ac- 
counts for my hankerin' for de footlights, but I don't 



WAITING FOR BURGLARS 7 

guess I'll ebber have any success on de stage. You see, 
dis is de way ob it : A manager ob a big show offered 
me a position as stage hand, but I nebber took de job. 
No, suh; I couldn't be two things all at once. "How in 
de name ob sense," I says, "can you expect me to be 
a stage hand when I was born an' raised with two black 
hands?" [Holds dusky hands to audience.'] 

But I'm gettin' entirely off ob de subject. When I 
first commenced I was talkin ' about bank robbers. But — • 
as I said once before — dar hain't one in de whole dis- 
trict dat would dare show his face round heah. None 
ob 'em wants to risk gettin' punctuated with buckshot. 
\Loud hnocli outside; Sambo 'badli) frightened.] 
Hello! Who's out dar? Who's dar, I tells you? 
I Crash of glass outside.] hordy, they am breakin' in. 
Say — you white folks — if you all see anyone round heali 
in a minute, tell dem dat de night watch am gone on 
his vacation. [Runs off.] 



Tompkin's Hired Man t Th^Acts 

By EFFIE W. MERRIMAN PRICE, 25 CENTS 

This is a strong play. No finer character than Dixey, the hired 
man, has ever been created in American dramatic literature. He 
compels alternate laughter and tears, and possesses such quaint 
ways and so much of the milk of human kindness, as to make him 
a favorite with all audiences. The other male characters make 
.good contrasts: Tompkins, the prosperous, straightforward farmer; 
Jerry, the country bumpkin, and Remington, the manly young 
American. Mrs. Tompkins is a strong old woman part; Julia, the 
spoiled daughter; Louise, the leading juvenile, and Ruth, the romp- 
ing soubrette, are all worthy of the best talent. This is a fine play 
of American life; the scene of the three acts being laid in the 
kitchen of Tompkin's farm house. The settings are quite elaborate, 
but easy to manage, as there is no change of scene. We stronglj' 
recommend "Tompkin's Hired Man" as a sure success. 

CHARACTERS 
Asa Tompkins — A prosperous farmer who cannot tolerate deceit. 
Dixey — The hired man, and one -of nature's noblemen. 
John Remington — ^A manly young man in love with Louise. 
Jerry — A half-grown, awkward country lad. 
Mrs. Tompkins — A woman with a secret that embitters her. 
Julia — A spoiled child, the only daughter born to Mr. and Mrs. 

Tompkins. 
Louise — The daughter whom Mr. Tompkins believes to be fcis? own. 
Ruth — Mr. Tompkin's niece, and a great romp. 
Plays about two hours. 
SYNOPSIS 

Act 1. Sewing carpet rags. "John and I are engaged." "Well, 
you can disengage yourself, for you'll never be married," "Mrs. 
Clark, she's took worse." Who makes the cake? Julia declines to 
sew carpet rags. "It would ruin my hands for the piano or my 
painting." Dixey to the rescue. "You take the rags a minute, 
child, and I'll just give that fire a boost." Dixey's story. "It 
breaks his heart, but he gives her away, an' he premises never teh 
let her know as how he's her father." Enter Jerry. "Howdy." 
John gets a situation in the city. Farewell. "It's a dandy scheme, 
all the same. We'll have our party in spite of Aunt Sarah." "Oh, 
I'm so happy." The quartette. Curtain. 

Act 2. Chopping mince meat. The letter. Louise faints. "How 
dare you read a paper that does not concern you?" "You have 
robbed me of my father's love." The mother's story. Dinher. "I 
swan, I guess I set this table with a pitchfork." "Now, Lambkin, 
tell Dixey all 'bout it, can't yer?" "It looks zif they'd got teh be a 
change here purty darned quick, an' zif I'm the feller 'lected teh 
bring it 'bout." "None o' my bizness, I know, but — I am her 
father!" "It's love the leetle one wants, not money." "If I'd been 
a man. I'd never given my leetle gal away." "I'm dead sot on them 
two prop'sitions." Curtain. 

Act 3. Dixey builds the fire. "Things hain't so dangerous when 
everybodys' got his stummick full." The telegram. "It means that 
Louise is my promised wife." "By what right do you insinuate that 
there has been treachery under this roof?" "A miserable, dirty, 
little waif, picked up on the streets, and palmed off upon my father 
as his child!" "Oh, my wife, your attitude tells a story that breaks 
my heart." "Yeh druve her to do what she did, an' yeh haint got 
no right teh blame her now." "Friend Tompkins, a third man has 
taken our leetie gal an' we've both got teh larn teh git along v/ithout 
her. We kin all be happy in spite o' them two sentimental kids* 
C'lJ^tain. Addre-s Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



Practical Instructions for 
Private Theatricals 

By W. D, EMERSON 
Author of "A Country Bomance/' *<The Unknown Eival,*' 
'* Humble Pie,'^ etc. 



Pricet 25 cents 



Here is a practical hand-book, describing in detail all tht 
accessories, properties, scenes and apparatus necessary for ao 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such useful 
book has ever been offered to the amateur players of any 
country. 

CONTENTS 

Chapter I. Introductory Kemarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooms 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc- 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Keflectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. Wind, Rain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Hors»^' HoofSj 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Man* 

Chapter IX. To the Stage Manager. 

Chapter X. The Business Manager, 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANt 

CHICAGO. ILLINOIS 



PLAYS 



LIBRftRY OF CONGRESS 

017 400 109 1 I 



And Entertainment Books. 

TijEING the largest theatrical booksellers in 
^^ the United States, we keep in stock the most 
complete and best assorted lines of plays and en' 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also carry a full line of grease paints, 
face powders, hair goods, and other * 'make-up" 
materials. 

The Dramatic Publishing Company 
CHICAGO 



